Jonas Blue Quotes

I'd often use a Leslie cabinet on its own in the studio because everyone in the late Sixties and Seventies was experimenting with them. We'd stick anything through a Leslie because it made everything sound so good.

A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.

We tune differently, and we use some tricks. There's just the two of us for much of a concert, so we want a big sound. We do use some guitar effects, distortion and delay. Playing cello with distortion sounds so good.

Now, the DJ becomes a star in itself because of the way he programs the songs with lows and then highs and then slowing it down. The big DJs, like Tiesto and Deadmau5 and all those guys, they are very, very creative.

'No Bones' has some reverb that I kick around.

This current round of gigs, I'm just doing it using pure electronics.

I was never really a DJ... I just kinda figured it all out at once as I started to tour. I was making music and producing and I just had to start to DJ as I got more into touring.

I have a Chamberlain I bought from some surfers in Westwood many years ago. It's an early analog synthesizer; it operates on tape loops. It has 60 voices - everything from galloping horses to owls to rain to every instrument in the orchestra.

The human voice sounds thicker with a chorus and reverb than a dry signal.

My tools are musicians, effects, things like that.

I have an Otari with a Korg T2 Midi synthesizer, a drum machine and a few effects units.

I'm always saying in the studio, 'My vocals are too loud!' or 'My vocals have too much effect on them!' I like some of it, but I'm not a fan of loading effects onto my voice.

It is the universe where all rock players live- we all use distortion, overdrive, gain and saturation. I call it 'fuzz.'

I learned to MC over drum 'n' bass music.

My basic setup is my Ibanez Fireman guitars and for pedals, the TC Electronic MojoMojo is the mainstay of my board, along with a Catalinbread Calissto Chorus.

The DJ thing is just a way for me to perform my songs in public. It put me on the map, and a lot of people discovered me because of my DJing and later found out that I made beats.

Personally, I have a hard time playing live. A big part of it is because the lyrics are really private.

I was very into tribal techno and used to go and really lose myself in great dance music.

I'm releasing more music as Virtual Self, I'm definitely going to be touring Virtual Self.

I consider myself more of a producer and a musician than a DJ.

Looking back fondly, I think the first gig we did with the electronic stuff was really exciting because it was in this tiny club, like an Elizabethan building with beams.

With some electronica acts, you see them live, but you're not really sure what they're doing.

With the violin, for example, one understands culturally that the sound comes from the instrument that can be seen. With electronic music, it is not the same at all. That's why it seemed so important to me, from the beginning of my career, to invent a grammar, a visual vocabulary adapted to electronic music.

Tiesto is legend. I've been in the studio many times. We did a tour together; I jumped onstage with him, he jumped onstage with me. Still, every time, I have to pinch myself and realize this is the guy who made me start doing what I'm doing right now.

In electronic music, staying behind your laptop for two hours is not too exciting to watch.